Tuesday, June 13, 2017

When you're writing about jazz (especially bebop and hard jazz) sometimes you feel like you're writing to yourself. But I never allow myself to forget that this is Blackculture that we're talking about here, and certainly one of the greatest art forms that has ever been bestowed upon humanity that the establishment is trying to bury . . . but not on my watch.

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I’m a lifelong musician who’s been devoted to jazz every since I was a child, and I take great pride in what jazz has contributed to the Black community, America, and the world. I also have a deep devotion for my culture. For both of those reasons I’ve decided to devote much of my waking hours to the promotion of a woman who I’m convinced is highly significant to what Black people represent as a culture and as an artistic force in the world. Her name is Rita Edmond, and she’s come along at just the right time, because the jazz world really needs someone like her now. But due to the dumbing down of America, and our mindless embrace of the frivolous, our elitist media is completely ignoring her, and it’s a slap in the face of jazz. It’s, literally, like ignoring Sarah Vaughan.

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But this situation is not just a result of the White establishment alone. It’s also a result of what many Black people have allowed themselves to become. It’s sad that I should even have to make this appeal for an artist of this caliber. In the past, jazz flourished because musicians promoted one another. Back in the day Jimmy Heath would have told a promoter or club owner, “If you like me, you’ll also like a guy by the name John Coltrane. You need to check him out.” As a result they both flourished, because Jimmy did that in the name of jazz. He had enough sense, and devotion to our culture, to recognized that by promoting Trane, he was also promoting jazz, and by promoting jazz, he was also promoting himself. Thelonious Monk even went to jail for Bud Powell to prevent Bud from being barred from playing in New York, because Monk knew that Bud was good for jazz, and at that time the public had yet to catch up with what Monk himself was doing.
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But today the attitude seems to be, “I've got mine, so you’re just gonna have to struggle like I did.” Many even go so far as to HIDE possible connections - and then we wonder why our cultural traditions simply disappear. The very last thing we should want is for someone like Rita Edmond to be a secret, because she’s not just another singer; she’s without a doubt one of the most significant jazz divas alive in the world today.

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As Black people, we’ve got to start recognizing our priorities. Again, this is our CULTURE we’re talking about here, and the failure to promote it whenever, and however we can, only serves to diminish it. Yet, many Black people fail to support the very best in who we are.
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Rita has only one stumbling block in demonstrating to the world the brilliance of our people - when it comes to the Black culture, the American media has conditioned us to fixate on only one thing, the booty-shacking frivolity of entertainment. Now, I’m not criticizing entertainment - I love watching Beyoncé shake her assets - but a culture has to be recognized for more than just shaking its booty to gain and maintain the world’s respect. It was the dazzling technical abilities of people like Dizzy, Bird, Monk and Miles that made the world begin to recognize that there was much more to Black people than the slow-minded Stepin Fetchit-like people in which we had previously been portrayed. Thus, it was the seriousness of jazz as an art form that brought the Black culture into the modern world, and today musicologists at universities and conservatories all over this planet are still scratching their heads and trying to figure out what Bird was doing over 60 years after his death.

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In that regard, people in nations as far flung as Russia and Thailand have thrown flowers at Rita’s feet. Fans traveled to Thailand from as far away as Japan just to hear this lady sing. When she left Russia people met her at the train station with roses, and a young piano prodigy (whose father brought him to several of Rita’s performances, and thereafter, took her to visit the Kremlin and indulged in snowball fights) ran up and hugged her. And in Israel, a quadriplegic, who was paralyzed from the neck down, had them bring him - in his bed! - just to hear this fabulous diva sing.
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The people of these other lands give Rita that kind of love because they appreciate excellence, and they recognize that Rita Edmond is a part of a great tradition. They haven’t been subjected to America's Trump-like Hillbilly mentality towards Black culture, so they see this woman for what she really is - a world-class talent. Rita Edmond is not just an entertainer . . . she’s an ARTIST - and one of the world’s greatest. But in spite of that fact, the American music industry treats her like she's some frog singing on a subway platform for change. So don't allow some tone-deaf accountant to sit behind a desk and define your culture. Trust your own ears and listen to this fabulous diva for yourself. Check this lady out!

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SO WHO IS THIS RITA EDMOND?
WELL, I COULD TELL YOU SHE'S ELLA, SHE'S SARAH, DINAH,

OR NANCY WILSON,

BUT INSTEAD OF TELLING YOU, I'LL SHOW YOU.

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EMBRACEABLE YOU - WYNTON MARSALIS

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EMBRACEABLE YOU - RITA EDMOND

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HERE'S TO LIFE - SHIRLEY HORN

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HERE'S TO LIFE - RITA EDMOND

.IT MIGHT AS WELL BE SPRING - KING PLEASURE

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IT MIGHT AS WELL BE SPRING - SARAH VAUGHAN

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IT MIGHT AS WELL BE SPRING - RITA EDMOND

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YOU DON'T KNOW WHAT LOVE IS - DINAH WASHINGTON

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YOU DON'T KNOW WHAT LOVE - RITA EDMOND

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SUNNY - RITA EDMOND

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Ms. Rita Edmond -The Contemporary Face of True Jazz Royalty

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So if you’re a jazz lover and want to look upon the contemporary face of jazz royalty, take a moment to go check out Ms. Rita Edmond. She's the jazz world's best kept secret. She's currently working on her third CD, but even on her first CD, she made it abundantly clear to this writer that she hit the ground fully seasoned as one of the greatest jazz singers alive today. I know, that's a mighty lofty claim to heap onto the shoulders of a relatively new artist, but I'm not given to hyperbole, so I fully intend to back up my assertion with the contents and attachments to this piece.

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Ms. Edmond moves between sultry sophistication, hard driving swing, and childlike innocence without any effort at all. There are many great singers out there, but from the very first bar of anything Rita does, she clearly distinguishes herself as one of those rare individuals who was born to do exactly what she’s doing, and nothing else. She swings with the effortless grace of a Sliver Shadow cruisin' down Pacific Coast Highway, and her ballads are lush with sultry passion, personal depth, and individuality.

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You can't "learn" to sing like Rita Edmond. You either have it, or you don't, and there's only one or two lucky few in a generation who do - but Rita, like Ella and Sarah, is one of those lucky few. But don’t just take my word for it, go check her out for yourself and I’m sure you’ll agree with me that she’s a once in a generation talent, and clearly the heir apparent to some of the greatest divas that jazz has ever known.

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Along with this piece I've attached four links to make my point - ‘Here’s to Life,’ ‘Embraceable You' (Live at the Los Angeles County Museum of Art) , ‘It Might As Well Be Spring’, and 'Sunny' - and each tune shows a different side of her tremendous, and still growing, musical personality.

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‘Here’s to Life’ is a beautiful ballad that’s been done by some of the greatest singers who’s ever lived, yet Ms. Edmond’s version is as good or better than any version of this tune that’s ever been recorded. The soaring passion that she brings to this tune makes it almost impossible for anyone who’s ever had to struggle through life’s adversities to listen to with a dry eye. Artie Butler - the multi-Grammy Award winning composer (and Barbara Streisand's musical director) - said of Ms. Edmond, "Rita Edmond knows exactly what to do with a song like 'Here's To Life.' She brings the listener into the music as she sings, making you feel she's singing just for you. That's indeed a gift."

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'Embraceable You,' (featuring Harold Land, Jr. on piano) demonstrates the ease in which she can establish the mood of a song and captivate an audience. It also shows an artist who is so comfortable in serenading an audience that it seems like she was born on stage. And after the piano solo, notice the effortless spontaneity in which she throws in a lick that's so exquisite that it sounds like it should have been written into the tune. You won't be able to miss it because the audience places an exclamation point of approval immediately afterward, as she casually, and routinely, moves on to the next phrase, as though it's all in a night's work.

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Rita Edmond and Phil Woods Protégé
and International

Jazz Great, Robert Anchipolosky

Finally, she does ‘It Might As Well Be Spring,’ a tried and true jazz standard. Not everyone can do this tune well, because it’s such a jazz staple that it’s hard for a singer to put their personal stamp on it, and whenever they try, they either over sing or under sing the tune. But Rita swings through it effortlessly and makes it her own. King Pleasure himself would smile at her rendition.

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I also wanted to add Ms. Edmond's rendition of ‘This Can’t Be Love’ as an attachment, but unfortunately, it's not available on Youtube. Nevertheless, it deserves a mention. On that tune Ms. Edmond displays yet another part of her musical vocabulary - her growing chops as a scatter and her ability to swing with the best of them. In this case, she scats in unison with yet another powerhouse, tenor sax player Ricky Woodard, and they’re pushed forward by the hard driving rhythms of Albert ‘Tootie’ Heath of the illustrious Heath Brothers on drums - and when it comes to the aristocracy of jazz, they don’t come any more blue-blooded than Tootie. She's also regularly accompanied by Nancy Wilson's keyboard player, Llew Matthews, who has also played with legendary jazz giants such as Jackie McLean and Woody Shaw, and the sweet-struttin' Edwin Livingston on bass. So Rita is regularly being tested by fire, and she literally dances through the flames with blissful abandon.

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Earlier this year Ms. Edmond toured Russia, bringing the house down with the late Phil Woods' protégé, Robert Anchipolosky, and at this writing she's wrapping up a three month gig at the luxurious Oriental Hotel in Bangkok, Thailand, where she's doing her part to show jazz lovers, politicians, and ambassadors from all over the world what we bring to the table. She's also just completed a project with her good friend and fabulous sax player, Dale Fielder, "Resiliance,"on the Clarion Jazz label that's monstrous. While very contemporary in it's concept, the quality of musicianship is a throwback to the way the big boys used to do it.

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Ms. Edmond approaches jazz like she's been here before. It's like she walked on stage fresh off 52nd Street. For that reason, whenever I hear her sing it makes my eyes moist, because I can here Ella, Sarah, and Dinah, whispering softly in the background, "Show 'em how it's done, baby girl." And she has a natural musical kinship to Dexter Gordon, whether she's singing a ballad or swinging, and when you're as familiar with Dexter Gordon's music as I am (his family lived two blocks away from my grandparents, and my mother went to Jefferson High School with him), it's a scary thing to watch. Her approach to phrasing and the feeling she evokes is the exactly the same kind of feeling that Dexter had on his tenor. When I first played Dexter doing "You've Changed" for her, she said, "Hey! He sounds just like me!" I had to laugh. I told her, "No, Rita, You sound just like HIM." But her reaction to the tune is understandable. Dex recorded "You've Changed" when Rita was a baby, but her father, who started her singing and dragged her around to sing for anybody who would listen when she was a little girl, was a jazz fanatic, so she might have her Dexter while she was still in a bassinet, and with her ears, and her affinity for jazz, she never forgot it. So Dexter has just become a part of her, waiting in the wings to express himself - and he does just that, with every phrase she sings.

Rita with the former Australian Ambassador,

Ireland Ambassador, and the

Portuguese Ambassador

But in spite of her talent, Ms. Edmond is a very innocent sort, whose emotions are always very close to the surface - I think that may be the key to the beauty of her musicianship - but again, in spite of her unassuming manner, when she picks up a mic someone else emerges. Just the touch of a mic seems to transform her. It gives her a tremendous confidence, sophistication, and a unique sense of individualism that serves to produce a flawless musical delivery - a delivery that seems to say, “There’s a new diva in town,” and I say, it’s about time!

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PS: I don't want to get spooky here, but something just happened that made my blood run cold. I didn't know whether or not it was appropriate to mention it in the context of this article, but it was such a coincident that I feel that I would be remiss if I didn't say something about it. As I was writing about the kinship of the music of Dexter Gordon and Rita Edmond, before I posted I received a contact. It was from Dexter's widow, Maxine Gordon (or as Dex would call her, "Lady Gordon"). My last contact with her was over two years ago, so that was one hell of a coincident . . . or was it?

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Eric L. Wattree

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BIO

Eric L. Wattree is a writer, poet, and musician, born in Los Angeles. He’s been a columnist for The Los Angeles Sentinel, Black Star News, The Atlanta Post, and is a member of the Sigma Delta Chi Society of Professional Journalists (http://www.spj.org/). He’s also the author of "A Message From the Hood."Some of the greatest minds I’ve ever known held court while sitting on empty milk crates in the parking lots of ghetto liquor stores, while some of the weakest minds I’ve ever known roamed the halls of academia in pursuit of credentials over knowledge.Eric L. Wattreehttp://www.whohub.com/wattree

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